Andrew Reid

What happens when you press info?   And why are you using a 7D Mk II for video. It's shit.

Nice tip, thanks alexO.

In clear line of sight I am sure the WiFi link from LX100 to the ground would work reasonably well. I'd try that first.   Shame Panasonic seem to have shot themselves in the foot though because LX100 would otherwise be so great on a drone.

Yes, I have this lens and it works fine with the Mark 4 Metabones adapter on my A7S. IS is pretty good on it.   Be sure to check out the Metabones site for a new firmware update, as the Mark 4 out of the box when it was released was still not entirely 100% bug free with the A7S.

It's not sharper than GH4 4K though is it?   :D  :D  :D  :D

  Cheers. Yeah it absolutely is a go-everywhere one. Think how many photos we take with our phones and some of them are just lovely... now think how much better these would be from the LX100 :)

Ah I see. Doesn't even have an HDMI menu, only a "TV connection" one. I think this is one of the victims of unnecessary feature culling to protect the GH4. Actually pros will use both, so there's no need to cut important "pro" features. Bit of a shame really. I haven't tried HDMI live out yet, just going off what others have said, that it isn't active. One way to do it would be WiFi, but you'd need to find a way to extend the range.   How about flying it with the iPhone, and leading the iPhone out to an HDMI transmitter? :)

  Eh?

  Custom modes don't seem to take into account shutter speed, you still have to put the dial to 1/60 and reverse the rear dial back one to 1/50.

  Yes do it. EM5 video quality is nowhere near as good as the LX100. The stabiliser is the only thing you might miss, and the look of the Nokton. That's a beautiful lens.

To imagine how many Micro Four Thirds primes you're getting in with the deal, here's what the aperture does throughout the range :)   11mm - F1.7 (24mm equiv. taking into account 2.2x crop) 16mm - F2.3 (35mm) 22mm - F2.7 (50mm) 34mm - F2.8 (75mm)   Not bad for $899, though I am sure the LX200 will end up with an OLED EVF and F2.0 at a 50mm long end (110mm).

Just found how to set the framing of live-view to video without enabling 4K Photo Mode. The option to try is Rec Area. You can toggle between the framing for stills (2.2x crop) or video (2.4x crop).

There's the custom modes in there but instead of on a dial, they are in the main menu as Utilise Custom Set Feature. If you use this regularly just assign that option to a Function button like Fn3.

Oh and when P mode is active with shutter & aperture to their "A for auto" positions on the dial, Auto ISO works just fine whilst recording video, and you can use the exposure comp setting to gain up / down.

As some have observed, yeah Auto ISO is only for stills mode, when you start recording video it goes off manual ISO only.   The way around this is to set the camera to iA mode and shoot in full auto, then the exposure will correct during a recording if the light level changes. I don't recommend shooting video this way because it looks rubbish, but some might find it useful for certain shots.   M mode is when the shutter and aperture are set manually. A big M appears in the top left of the screen. A mode is when the shutter speed is set to auto but aperture is selected on the lens ring.   S mode is when the shutter is set on a manual setting and aperture is set to auto on the lens ring.   P mode is when both shutter and aperture are on their auto setting.   See... who needs mode dials anyway!?

  Another constructive forum post ehh

Song 'Her' from the EP collection 'The Mud Here Has Memories' by Bunny Suit. Copyright owned by Universal Music Publishing. Filmed by Andrew Reid.  Featuring guest vocals from Aurora Aksnes. Poster frame shows close-up resolving power of the LX100 at 11mm F1.7 in 4K mode. The first retro-styled camera from Panasonic is the first ever compact to shoot 4K video from a large sensor. The first compact that I would call "exceptional" in almost every respect. Read the full article here

Must have been from one of those Award Winning filmmakers

Check out Philip Bloom's initial look at the far superior Sony FS7 https://www.storehouse.co/stories/o5hd3-unboxing-the-sony-fs7

  Not all the users of this forum are doing commercial work for clients. Some are doing creative personal work, some are shooting features, shorts, documentaries.  Personally I'd rather try and push the envelope and get a more unique look - with anamorphic on a full frame camera, in low light and with S-LOG for a fraction of the price of the C100. Though I can fully see why you might not want to do this on a commercial for a bank. Feel free to setup a new topic about that.

  Yeah you're wrong I'm sorry! Right from the start of the blog I was more of a Panasonic user because the GH1 at the time did video properly, and it was more accessible / much cheaper than the 5D Mark II.   Canon slipped ass backward into DSLR video, and whilst proclaiming to be great supporters of independent filmmaking and creative consumers with higher than average knowledge, took DSLR video out of our hands and decided to start charging $15,000 for it.   And indeed, when I haven't got an axe to grind, there's not much point covering their newest releases because they're so boring anyway.   Not just in terms of video but stills to.   Let's discuss the G1X Mk II vs LX100 shall we?   The G1X Mk II is such an awkward, ugly, minimal effort by comparison... it's almost like they don't care.

  Yes I am sure the crew and post team on Skyfall found Alexa raw really hard!

Why would anyone get the C100 Mk II when for less than £2k more you can get an FS7?   FS7 UK price - http://cvp.com/index.php?t=product/sony_pxw-fs7   C100 Mk II - http://cvp.com/index.php?t=product/canon_eos-c100-mark-ii

  Nah, 1/25 is the slowest it goes in 24p. I couldn't have shot the Beka Hoop video with it. On the A7S I could do 1/8 to get the blur.

So C300 on Blue Is The Warmest Colour is the new hype machine on the EOSHD forums I see. Well here's Roger Deakins view on it... he found it "disappointing" http://www.rogerdeakins.com/forum2/viewtopic.php?f=25&t=2691   As for image quality, it really has very little to do with the C300, more about the £25,000 Angenieux zooms they had on the front. And of course, the million pound post production budget and talented crew of many people, plus the lighting.